Basics Of Inking | Luís Lamas | Skillshare
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13 Lessons (46m)
    • 1. 1 FreeFirst

      1:21
    • 2. 2 Intro

      2:14
    • 3. 3 Paper

      1:50
    • 4. 4 Brush&Ink

      4:50
    • 5. 5 ArtSupplies

      1:58
    • 6. 6 PortableDT1

      5:02
    • 7. 7 PortableDT2

      3:20
    • 8. 8 DrawingExercises

      6:20
    • 9. 9 ArtistsBlock

      2:29
    • 10. 10 InkingMaterials

      3:50
    • 11. 11 Project

      4:48
    • 12. 12 FromSketch:toInk

      6:32
    • 13. 13 Thanks

      1:16
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About This Class

Be prepared to enter in the world of Ink illustration

This class will show you the best tools, training exercises and process of creating an ink illustration  with a touch of humor, and relaxed vibe.

This is a Class for people that want to do ink illustration but :

  • can't find a simple, fun relaxed class
  • only find very complex, slow passed or boring tutorials
  • want to learn important information at a fast pace

I will not explain why a brush is better then another, or the seven most used papers in the media.

I'm here to share some of my search over 10 years, of constant experimenting and discovery.

So you can know, what you should have and do, in order to simply start doing something that awakes your interest.

Things being explored:

Best Brushes, Ink, paper on market

Main Tools 

Inking Elements

Drawing/inking exercises

Artists Block

Awesome Project

Method from sketch to final ink

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Hope you Enjoy

Meet Your Teacher

Teacher Profile Image

Luís Lamas

Life Within each Line

Teacher

HI!

My name is Luis Moreira and i'm an Animator & Cartoonist.

With an incredible passion for everything that as to do with cartoon, illustration, animation and design, i constantly work in order to improve my skill and increase my knowledge.

I've been a Professional illustrator, 2D Animator, Graphic designer and Cartoonist.

Being close to all my life addicted to learning and improving in the area i most enjoy, cartoon/ illustration & animation, i've learned very cool tips and tricks in these areas.

I just hope you all like learning as much as i do :D

See full profile

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Transcripts

1. 1 FreeFirst: way. Do you feel like you're Sketches are freakin awesome, but they can like that professional group to them. Have you tried to thinking something, but it kind of didn't work out. Well, this is a made by lowest class. I'm Lewis, and I'm going to be sharing some training skills, tips and jewels that I use to ink my work and my comic pages. I hope you enjoy. 2. 2 Intro: cold collagen off a mighty Inca that was here to teach his pupils. So, Walker So I'm here to do as somewhat quick intro. Just tell you two main things. First, my classes will be somewhat concise and fast paced because I'm a very awkward guy, and English isn't my primary language. So it gets really awkward really fast, and I will start mixing up accents by accident. And the information might not passed because you think that the person that is teaching you is an s and I'm not. I'm just really awkward. And I don't speak the language, the language, 100%. And I believe that the information that I'm passing, it's the type of information that if I had it like seven years ago or 10 years ago, I would have progressed much faster as an anger illustrator, etcetera. So, uh, next it's the points or the the points, the lessons, The lessons in which I'm going to organize this class will be. I'm going to start by talking about tools, ink brushes, brush pans, types of paper, ruler, um, eraser, etcetera, etcetera. Then I'm going to talk about some exercises that really improve on the whole trying to draw , drawing better, etcetera. Then I'm going to talk about artists block how to fight it, how to improve. So you don't have it that often. And then I'm going to go from sketch to final artwork that you sent with to a client. Okay, let's begin. 3. 3 Paper: first class paper paper needs to be thick. 180 grams. Anything belittle that won't do. I've tried when? 60 Horrible. Anything above this. Okay, Second smooth, smooth mints. It can have a lot of texture or any of that type. The smoother the surface off the paper, the best and less, But I'm least out wants a color. The paper needs to be prepared for watercolor drawing. Three examples. You know those dress as I told you 1st 1 When the lady, what's a color prepared? And it says here. Soft grain. So it's really smooth. 2nd 1 102 100 grams. Perfect prevent for watercolor drawing ends, extra surface, silky surface. Who that's moved. Last but not least, they're supposed best one for illustration. It's from Bristol 180. Um, we swab salt very soft from the ones I showed you. This one is the most expensive one. I think it goes for about $12 which I think it's a lot. This one might go for around three and year one. It's kind of the same thing. It has more paper, so it's about six bucks, but it has twice the amount of paper. Next lesson 4. 4 Brush&Ink: on two brushes and ink. I'm just going to be very straight. Fold either one or two. The other. I only use one type of ink, and I only use two types of brush quality brand brush because it's the best. The type of brushes that I use are somewhat expensive, but they're worth it if you keep them if you wash them consistently. If you don't like to the ink dry, they will be perfect for a lot of time. A lot of years. Some people use them for 10 2013 30 years without needing to switch them, so I have them here. The 1st 1 is a Cyrus Kolinsky Sable from Windsor and Newton is an older version of the one I have here, which is the Winsor and Newton serious. Seven. Kolinsky Sable. This is the holy Grail of every single brush you will find for Yngling. I believe it's the one used in like Marvel, DC types of comics every artist uses when they prefer. However, this is known to be one of the best in terms of quality. In terms of drawing on painting capability East. It is the one Bill Watson used for a lot of time for all of yours career to paint Calvin and Hobbes and being one of my favorite cartoonists of all time. I want to follow his footsteps. The 3rd 1 might be the most expensive one. Pity Reaper, which I believe it's a DaVinci type of brush, and it's made from Russians quarrel, for It's quite expensive. And here's the Jif of this. If you can master this one, you can master close to anything. It holds a lot of ink, and you can do anything from a really, really thick line to a very Finn line. I'm going to show you this later. I'm just showing you that the three main choices I have is the Serie seven Windsor Newton Kolinsky Sable, the Siri's around one home, 10 Kolinsky Sable from Windsor Newton and a DaVinci The Big Leap. These are the brushes I use onto thinking I only use mainly one type of ink, which is this one. And if you can't read Japanese, this says quarter talking. Just getting it, says talking. I don't know what it says. I know this is a good attacking Inc and is the best one you'll find in the market for a very simple reason. We have to brush pens here. One could attack a Inc based and the other a pen tell brush pen, which is used a lot by professional illustrators in the media. And I'm going to explain very simply why I prefer always any could attack you based. This is a dry out of the two types of ink. And as you can see, this is black ink. This isn't This is gray to me, this is great. And in order to get something like this, for example, in which the color the black color is bright, bright lids very clean, very, very strong Dark to have this type of drawing, which is what I prefer doing, you need actual black dark black ink. Simple this in terms of darkness and in terms of time that it takes to dry. It's also very good, but in time, in terms of price, I think this is about $7 this is about $4 this one has about six times more ink than this one. Yet exactly so I will choose great backing 5. 5 ArtSupplies: on to other objects. Rulers, I have 21 is better than the other because it has this material that prevent it from sliding. I need one with at least 20 inches, which is about 50 centimeters. Why? Because I do comics and the size of a comic page by non is 11 inches by 17 inches, which is what I need second clips. You need to clamp your drawing a lot of times to a table to something that you hold in your hands so you can draw anytime, anywhere. Any place clips are always handy. You did it tonight. Sometimes when you're drawing, you might think that the paper isn't right size or you need to trim something out. Using a ruler and a utility knife will do the job. I've used this way more times that I thought I would need to some type of flask with something to cover it and water. You will need this eventually. If you want to care for your brushes, and if you have quality brushes, you really gonna need it an eraser after I'd some erasers. I believe this one is the best. It's a favorite castle art eraser dust free. Why? Because after you're done with the Yngling, you will need to erase the pencil and keep the that bright, beautiful, dark natural from good thinking. And I believe this is the erasure that takes more pencil and leaves that dark, beautiful impression. Plus, that's free. 6. 6 PortableDT1: Okay, so this is a six time I'm trying to do this video and I keep just babbling on, and the video takes starts being, like, 10 minutes and 11 minutes and 12 minutes. So I'm going to make this as concise as it is actually possible for me. We have the brush pens, we have the marker top of marker pens, and we have other tools that you will eventually need. I believe that this set of tools is the the maximum tools you need to do any inking job from beginning to end. I'm going to start by showing you brush pens. I already talked about this too. This is a good attack. Er pen a number 22. I believe this is brilliant for two, maybe three reasons. First, the tip can go from very think two very thin, she thin, somewhat thin, a little more thin thick. Then this has a little sponge that controls the flow of the ink. Even for people that are starting to think. I think this is the best choice regarding quality price. It's really sheep. I really think this is one of my top chances. This is the at Barash pen I used for pretty much anything. Then the bento brush. Ben. It's a little more expensive. A lot of people use this. I really don't enjoy it as much because sometimes, mainly when you you're switching the the ink cartridge on the flu of we will think is just way off. And with that one that has a little sponge and a controller, that doesn't happen in here. It happens a lot, and you can. You can still do a lot of controlled like drawing, and you can go from really thin to thick. But first you I think you can control it as well as the other one. And my main problem is this. This to me isn't Arc as I've told you already. That is so for anyone that doesn't feel like that's a problem. It might be good to. You can see mental, but spend. I do not enjoy it going to markers again. This is one of the ones I used the most. This type of martyr, as you can see it, doesn't fluctuate a lot in terms off thickness. It fluctuates a little as you can see which I believe it's really, really cool And even if you're a beginner, it doesn't fluctuate that much. You can. You can have some control over it and still do Very cool set of drawings. I think this is a very good choice to start. However, I started with Korea. Tacky number 22. I believe this is a Kentucky number 11. Again, I always go to correct a key in terms of the best ink, the darker ink and the ink that just gives better results. Then, if you want something like a pigment type of marker that you can control to, ah, 100% the thickness, there are a lot of people that use this type of drawing. This just has to do with your style. If you want to do this type of drawing or if you are beginning and you believe that this is a little too hard to begin and you can control the line, it might get a really frustrating after sometimes. So this is a very good choice. Now we have a mixture upper. This makes a rapper has part marker like felt market in part brush, and although I don't enjoy that much, the the dark tome this I do believe that with this pen you can actually do anything from any type of thinking because you can even mix types of styles. Ah, brush style with a felt style. If you can do that, it actually gets a really good line and a good, really good drawing with only this so this sexually critical to for you to have always with you. 7. 7 PortableDT2: onto nip like pence. This isn't it, Ben. I really enjoyed this one. I like working with the nip, but my style of drawing is always done with the brush. Been because I like this. This a passage from thin to thick on my drawings. I think it gives it a little more life. However, if you enjoy working with a nip, I really think this has a lot of flow. Really good flow. Really good. Ah, dark type of ink. This is a line marker Tachikawa from Japan. I think a lot of men guard is a T least a friend of mine that works in Mango on Told me use this Ah, every time for for his main works because you can see, actually, I tried it a little bit. It really has a cool type of line and really cool inflow. Okay, we have two more first simple copy. I don't know if you know, but any illustrated that is using a marker to ink to color it's drawings is almost likely using a copy. The types of colors that come from a topic are really amazing are needed. They don't they don't get like they don't destroy the paper that much. And because it's alcohol based, you can mix a lot of colors. I buy Norm. Use this one just to do sometimes like main shades of, ah, shadows is it mainly to do some shadow work? So this one is always around with me less than at least if you want to do highlights. I'm going to show you this if you want to do highlights. I think I've tried many, many types of men. I've tried Poskus. I've tried other types of Boskin. I've tried, um, pilot types of marker and a gel gel ink type of drunk. And if you want to do any type of highlight, I really enjoyed this one. This is a jelly roll, Sekula Ben. And the type of work it does is really amazing. Sometimes I really just step it to get the ink flowing. But the the whites are really nif. It really gleam in this in this type of ink. So if you want to do any highlight in a dark drawing, it's really the way to go. So that's it for main tools. I used to think See you on the next lesson. 8. 8 DrawingExercises: training, you're drawing abilities. Oh, I think that whatever the training exercises I give to you about drawing it all sums up to one thing you need to draw. If you want to get good at something, you need to do it. A lot, however, was I am going to tell you about is that sometimes I listen to some people in tutorials saying like Oh, you should draw very thin lines. Oh, you should try doing little balls so you can improve your technique. I actually don't think that's a very worth doing the training technique, because at the end of the day, you will be a very good person that draws balls of several sizes, and you'll be very good at doing the thinness line in the market. But it is almost impossible for a client to ask you to do thin lines and balls first thing . If you're a character designer or if you want to be character designer, one of the best things I think you should do is this in here. This is a very simple website. It takes several people, male and female, doing different positions, some naked, others with clothes, animals, etcetera, etcetera and what it does is with a timer. It switches the type of drawing you have to make, like you have 60 seconds to draw this lady or 60 seconds to do all this. And this is very good, because after sometime you become very proficient ATS capturing movement. And that's one of the key elements off. For example, good character drawing. If you want to draw a good character and you want to play with proportions, you need to have the basis very strong. And this is one of the techniques that even doing it look for like one hour screeching from from type of drawing every 60 seconds or every 30 seconds. You start to get good on doing that really fast and your sketches will improve. And if your sketches improved almost suddenly, that the other part will next again. It's simple things that I think will improve your technique. There is no shame and looking at the art off other artists and just saying, Okay, I want to draw like that guy. You can see if he has some tutorials are speed painting or even if it's a guy that draws something very well. For example, you see someone that does thinking of fire, for example, just the way you wanted, you can look at he is drawing and start experimenting and getting something out of its And just, for example, mixing a technique that you saw he used with an actual photo doing a mix up. References by Norm is what a lot of artists do to improve their techniques When you see a a non artist with a very peculiar type of style, most of the times it's a guy that learn from a lot of different people, took what he liked about those works and improved by doing. It became something unique of him because he mixed a lot of different techniques with his own peculiar type of hand drawing and technique and style. So main two things that I think we're really improved draw drawn up. This of the quick drawing is it doesn't really just go for character design. You can take your notebook, go onto the street. Just look at people passing by quick drawing 30 seconds. You look at the building, you do the same thing. I think that even more than reading books about drawing, you just need to draw and do it once and twice. And if if you do it a lot of times and you see that it just isn't working out, well, then then you can search for how to do perspective the right way. But, ah, lot of times it's people that do something with perspective, like two or three times and say, Well, I don't know how to do perspective So I prefer doing doggies. I'm really good at drinking doggies, so I'm going to draw doggies for life. Well, that's that's a good opinion, and that's a good choice if you can find work to draw doggies all the time. But if you want to be capable of doing any type of work, just try to draw it and you will fight. You will feel a lot of time, but any type of work and you you will probably know this Henny type of work will imply that you fail a lot to succeed. Any guy that you see drawing really, really well from the top of his head is a guy that already drew 70 times that and failed 50 and if so sometime it just worked, and it sticks to your lending capabilities, and it sticks with you most of the times, kind of for life onto artists block. 9. 9 ArtistsBlock: are this walk might be the easiest one to deal with. First read a lot history books, story based books, other illustrators, graphic novels, references If you're not doing something off you off your liking and you're doing something for a client, look for photos. Look for building look for whenever the project is that your guidance is asking a few. Just look through photos. If you take 1/10 or 1/100 off, reference off another at work or another photo. Its original act if you take 100 photos or 100 artworks and mix the idea and change it to be yours unless you have something clearly identifiable that is from someone else. The work is yours. If you saw sculpt from another illustrator and said, Well, letter, that school is really good. Well, I can do the same thing because that guy already did it well, a lot of illustrators, skulls, and you can use a somewhat similar style, and I can guarantee that after you are then doing Yasko, it will be completely different from the guy that did it. Because it's your style and not his second social media artists, social media, you can for not in Pinterest Instagram Tumbler be hence and I am in, All of you can search. The thing is, in any of these you can put on a keyword and you will find a lot of different outtakes of different artists, and that's really good just to prevent artist book. If you see a lot of work, it will not only want to improve your own work, as you will have more ideas to do different types of work that information will be stuck in your mind, like them on the sole of a shoe onto the next lesson. 10. 10 InkingMaterials: okay in here, I'm going to explore different elements drawn in thinking credit. Keep up. How to draw grass. Very simple. Draw pointy little weenies in which the tip randomly changes direction. You start from the left to the right, then left, right, right, left up, down, etcetera. Drawing fire. Simple sketch of that ball with the radic hair going to the top. Remember that when you're inking that fire, the line should fluctuate in ink. Flu, which means some parts should be thicker than others. Extra info. Inside the fire should be a smaller fire with same shape but really thin lines. Also, you can do extra little shapes and little points in top off the drawing of the fire, just to show some flames disappearing into the atmosphere. Plank of wood. Simple. Draw slim rectangular shape with fluctuating lines and inside of them patch zigzag lines, some that go from one corner to the other. Others meat and return tree wood is quite different. Draw a wavy tube and inside Apaches exact lines that go from united to separate it to united again. Do this connection randomly in old would you can increase dark shadows and do small lines connecting the big ones. You can also do small points and shapes of ink to simulate old wood water in ocean water. You can draw on a Reddick line to represent where the water ends, then lose small, flowing shapes, leaving a white space between them. Color the white spaces. A small amount of water, like in a glass, is different. Draw lines and shades on top of the water. Small bubbles inside to give the impression of different consistency off air and some mark of flights in one side. You can also draw small puddles around the source of water. Just imagine a small deflating balloon on a table. Metal, like in the soul, is quite hard. Draw the shape of your weapon with the thin wine and some patchy area, then draw shade in the supposed darker or different type of metal and diagonal lines. For the impression off reflection. No character is completed without a floor underneath. Drawn Apache line for a mark off your floor in the horizon, then endpoints grass and rocks for the impression off dirt and a little real nous 11. 11 Project: How about a little project? I'm going to show you how you go from sketch into final ink drawing, and I think it would be a fun project if you did the same thing I'm going to do right now, which is I'm going to take several references and an idea. I'm going to show you the two main things I buy normal, like putting on a drawing and mixing that to create your own sketch and then ink that sketch first. This morning I was taking my coffee and looking at the tail of my kids. I thought about snake. I started to think about normal snakes, and I actually did a lot of normal looking snakes for several different projects. So I was thinking, How could I put like a fantasy thing into it? By Norm. The things I like to do is I really like to impose some fantasy element into a drawing being landscape, a magic related thing fantasy, sometimes mixing several types of animals. Um, the other thing I like to do is impose a story element into it because I do graphic novels and I really enjoy the thing of graphic novels and cinema and the presence of a story I like. Even with one image, you can kind of see a simple, like story that can tell you a little bit off how the image will progress and how it was going until then. So the first creature that came to mind was snake. Then it started to go on nostalgia level on to me, and I started to think, Well, there's, ah pretty fun snake on betel juice. So I said to look for it and actually saw this snake. I didn't completely remember. It's looks, but it really is some kind of brilliant character design. Okay, from this Nick, I actually love that lips think, and even the shape of the head. It's like an egg on island gated egg. So I thought, OK, I'm going to adapt this type of creature into a somewhat more fantasy QC being. Then I thought, Okay, what's the story behind it? It would be good if she was holding something. And I buy Norm like doing a small old man. So making a make sure off the snake and a small man, I would I thought it would be fun and it had some kind of story, humorous type of story. If there was a small kind of pissed off men clearly losing a battle with that snake even with that not being scared at all. So I started to think. OK, so in history, what type of community was known by being really like on going to battle? And even if I die, I don't really care. I just want to die in battle and keep fighting. And it came to mind Vikings. So Vikings. I want to do a very small and gypsy version of Viking and things, although that helmet with horns isn't really history accurate. Um, we buy Norm. If we see a bearded man with long hair, an ax or in hammer and those that's of horns, we automatically assume Viking. So by mixing this type of design with a small, uh, Men and the Big Snake, I thought it would be a fun little concept. This is what I'm going to use. I'm going to use a snake, a Beetlejuice type of snake with a fantasy cute sea kind of cute see look, fighting a small Viking pissed off that he isn't winning but without and owls of fear. I'll be waiting to see what you come up with, 12. 12 FromSketch:toInk: okay onto my idea. The idea was to mix that crazy looking snake from Beetlejuice with the fantasy looking via and a small little Viking. Let's go on, then I change the color and the brightness of this part of the video because this type of color is made not to be captured on camera. So if I didn't made this change, you almost certainly wouldn't be able to see the trying. Okay, so I said it with a basic shape off the snake, doing the right body wrinkles in the right places. I passed onto the weapon on his mouth so I could calculate away the Viking would hang off that ax. Then I started to do the body of the Viking. When I started Do that, I used around square shape, and there is a reason for this. And to find out that reason, I think you should check out Brian's Shepherd shape language. It's a brilliant last year on skill share. Uh, that explains the reason why we use different types of shapes for different characters. Then, after the main shape of the Viking and the snaking down, I said it to it. Some detail. However, you can add, and you should add some details to your characters in the sketching phase. I think you should leave some of these date details for the thinking process because I believe it gives a little bit more off life if you do it on the spot. And if you start getting used to that, you become increasingly better at thinking onto inking in an injuring of creatures like to start with the ice. I guess it gives a different life if the eyes are well drawn. Then I pressed onto the lips. I like to do like chapped lips in creatures because I think it looks more realistic then I per stone to the X, and this is for a very simple reason. By Norm, I start with things that might be a little more problematic, and sometimes doing would for steel might give you a little bit of trouble. So I like to start with that. I passed on to the lower part of the lips and on the thief. I just drew a little bit of texture and a little bit of shadow to look more realistic. I passed on to the body and because I wanted the body to look like a mixture off flesh and fur. I started to do the wrinkly parts of the body just in a way that the creature still looked like, mushy and like huggable. Then I best onto the wings in the sketch. I drew the wings, but I really didn't know if I should do the ink of them. Just leave them. I actually thought it would be kind of cool. So I started to draw the wings the wings to in order to draw the wings. It's like drawing for just a little bit more of, uh, fat for kind of like that. But to draw really, really good looking wings, I think you just should look at photos off birds and try again and again because a lot of this it's trying. Train failed trial and error. I passed on to the Viking and started to do some details. I by Norm in characters that are human, like I like to draw the face first place that I best onto for being hair or a beer. That's what I did in this one. Actually, even with the sketch, I miscalculated the the size of desire, so This is something that you can eventually do because I didn't want to use any type of white ink or something like that. I took the idea of drawing cape in the Viking and put it a little bit on top. So it would appear that it's part of the cape. With that, you can just think that about black. And it seems like the Viking is just waiting a cape and your mistake is hidden. Then I passed on to drawing the rest of the snake and the ground, the ground I showed you, uh, I will show you how to do it in the next lesson in simple linking techniques, Um, after I started to draw some shadows on the ground to make it look more realistic, I thought, middle way of my fantasy snake that I could do something different on do like the first fight feather like feathers alike, and then the second part do like like a for texture. But you would see on a tiger or something like that. And I actually think that looked pretty good from doing that. After I did this, it was just a matter of doing the final touches drawing some clouds because even when you're drawing creature, it looks really cool. If you have some small symbols or small elements on the background to make it look more realistic in destroying, I do it like this and then I still had it some of copy color hope you enjoyed. 13. 13 Thanks: and I guess that's it. I mean this because I really, really would have liked to have this type of video when this type of lessons 10 years ago, you would have seen me a lot of trouble a lot of time and I would have improved on my ability to link in to draw a lot faster. Then I did. So I just hope this helped you in some way. And if it did, I will be seeing if you like it or not, I will be checking out the projects. You leave. And if you do enjoy, I will start to do well a little more and do another lesson on other things on inking, showing you different techniques, etcetera, etcetera. But by now, I really hope this helps you and that you enjoy. See you next time.